Example of Secular Organum showing use of third and second. =The Workers=.—Two men, as was shown in the preceding lesson, were instrumental in remarkably furthering this growth of music. =Hucbald=, of St. Amand, in Flanders, was born in 840 A. D. and died in 930. He was a friend of Otger of Provence, and it is through the latter that some of Hucbald’s work is preserved. Hucbald probably never wrote in organum of more than two parts, though mention is made of an organum credited to him and having in addition to the two voices, a third singing a pedal-point, or a bass on one single tone. His principal work is a manuscript on organum, a work of great reference value. =Guido of Arezzo=, born 990, died 1050, is of even more importance. Unlike Hucbald and Otger, he seems to have been more than a secluded monk, for he visited Rome and was a well-known figure in the church. He was a most active teacher, and while his chief work was in developing notation, he nevertheless contributed important material in the form of organum, writing in as many as four parts, though in respect to the use of the less perfect consonances he was very little freer than Hucbald. A short example, extracted from an 11th century three-part composition, is given here as a specimen of the combinations and successions that were tolerated by the ears of the Middle Ages, and to show the tendency toward greater freedom in the direction of the motion of the parts, pointing toward those principles which later formed the science of Counterpoint. [Music: TENOR (sounds lower octave) TENOR (sounds lower octave) BASS] Several interesting points may be seen in this barbarous composition: First, the imitation by the second tenor of the phrase given by the first tenor. This is evidently intentional, as this phrase occurs three times in the course of the composition and is imitated in the same way every time. This same phrase occurs near the end of the bass part (which is the theme or _Cantus_) and it _may_ have been chosen for this very reason for use in the Discant parts. Secondly, the initial and final chords, viz.: root, fifth and octave—are familiar to all students of Strict Counterpoint. Writers as late as Cherubini call this combination the best for beginning and ending Three Part Counterpoint.